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POST script
JANUARY 08, 2012

SEVEN SISTERS

NELit review

FIFTH WALL
UDDIPANA GOSWAMI
Literary Editor

Funny people: humour writers of Assam

Noted humorist Bhadra Bora gives us an overview of humour and satire in Assamese literature

Some nostalgia and a little fun

HERE are many who are saying enough of violence, insurgency, blood and gore already. I agree. There should be an end to conflicts, we should find peace. But in a land where the ethnic cauldron boileth over, where vendors of peace shake hands with mercenaries of war, where every aspect of our life is somehow touched by the spectres of bloodshed and brutality, we are often forced to dwell on the issue. But as we start a new year, we can perhaps laugh off some of these concerns. For a while at least, maybe we can concentrate on the pure delight literature sometimes gives us. This issue therefore is dedicated to exploring the humour literature of Assam. Assams tradition of humour in writing is as old as written literature. Occasional hilarity and a few witticisms were to be found even in the 14th and 15th century Vaishanvite literature. Oral tradition and folk literature however, has always abounded with humour. We have grown up listening to many ribald tales (upakatha) from the Ramayan and Mahabharat which are perhaps not found anywhere in a written form till today. While my father was researching on the Ojapali art form of Assam, he also recounted many instances of comic interludes in the performances and witty repartees between the performers. At a time when there seems to be very little to delight in, I think we need to sometimes go back to these oral traditions that have survived since yore and forget the turmoil of contemporary times. This issue brings you an overview of humorous literature in Assam and traces its development in the modern period. One of the foremost humorists of Assam, Bhadra Bora, takes you on this journey. And in an effort to rediscover some unadulterated humour in our day-to-day lives, Gitanjali Das revisits Bhabendra Nath Saikias classic, Mohadustor Dustobuddhi. From this issue we are starting a new section, Other Words, which will place fresh perspectives before the readers of NELit review through essays, reviews, thought pieces and what have you. Not necessarily connected with the dominant theme of the particular issue, Other Words will also occasionally take our readers beyond Northeast literature. This week, on the 103rd birth anniversary of Bengali author, Ashapurna Debi, Aruni Kashyap revisits her oeuvre and speaks of the extraordinary power of her pen.

ASARAJ Lakshminath Bezbarua dug up the well-springs of humour in Assamese literature. He used humour, satire, parody and other genres to enrich the storehouse of Assamese literature. But this great humorist had also written in regret: Three-fourths of the people of Assam do not understand what in English is termed as wit and humour and cannot take pleasure in laughter. Which is why they have fallen on bad times. Though spoken in jest, he meant it. Various scholars have examined the nine rasas. Researchers have, however, not focused so much on the importance of humour literature. The amount of satire in old literature is minimal. Historically, although humour in Assamese literature has deep roots, it hasnt been very strong. This is mainly because ancient literature was derived from Sanskrit. Religious works had therefore by definition to be serious and profound. Renowned scholar Satyendranath Sarma wrote: As a people we might not be humourous, but that is not the complete answer. Society has not changed much since Bezbaruas time. Perhaps the biggest reason is writers have not treated the humour genre with the kind of seriousness and fame it deserves. Humour has, meanwhile, always been present in our literary culture. Apart from folktales and folksongs, there have been notable works such as Bezbaruas own stories in Burhi Air Xadhu. Ojapali, and songs sung at traditional weddings were rich sources of humour. Famous researcher Bhrigu Mohan Goswamis Ojapali institution and Daina-Palis Role and other works examine this source at great depth. The flavour of ancient practices have been preserved effectively even today by institutions such as Ojapali and bhaona. Bezbaruas own role is crucial in understanding more recent developments. Litikai (1890), Pasoli (1913), Nomal (1913), Sikorpoti Nikorpoti (1914), Gadadhor (1918) and others are outstanding examples of the genre. Another notable contributor to the field was Padmanath Gohain Baruah, whose Gaonburha (1897), Teton Tamuli (1909) and Bhut Ne Bhram (1924) were particularly good examples of satirical plays. Satirical theatre was also enriched by other playwrights such as Durgaprasad Majindar Barua, Benudhar Rajkhowa, Chandradhar Barua, Mitradeb Mahanta, Padmadhar Chaliha, Laxmidhar Sarma, Surendra Nath Saikia, Kumud Chandra Barua and others. About influences on humour literature, scholars have this consensus: In terms of English humourists whose works have influenced writings here, the name of Charles Lamb can be called to mind. Others include Beerbohm, Priestley, Gardiner, Stephen Leacock and Huxley.

FRONTIS PIECE
GG

THREE-fourths of the people of Assam cannot take pleasure in laughter. Which is why they have fallen on bad times G G
LAKSHMINATH BEZBARUA
Other writers, following in Bezbaruas footsteps, contributed stories and novels. They include Dolai Sarma, Kerpai Sarma, Ananda Kagti, Phulpani Phukan and others. Storywriter Mahishchandra Bora might be more usually considered as an essayist, but he was a storywriter nevertheless. Critic Munin Borkataki feels: In my mind Dekas (Haliram Deka) works are on the one hand about people, and on the other are examples of light and funny creations. Writing is generally divided into these two divergent strains. Until these two strains are mixed, good examples from this genre cannot emerge. In the last three decades, there have been other examples of this, including Kumar Srimadhusudan, Premnarayan, Pitambar Raimedhi, Memera Medhi, Bhadra Bora, Lila Gogoi, Lalit Bora. Similarly, Hem Barua, Tilak Hazarika, Kirti Hazarika, Hem Sarma, Kiran Sarma, Prafulla Barua and, to an extent, Nabakanta Barua, Dulal Borthakur and Harendra Deba Goswami, can be counted within such writers. This critic has placed some writers within the genre of essays or on the fringes of some other genre. He has

called them borderline cases. Lila Gogois Kopiling Siga Rail and similar creations, Hem Sarmas Madar Phulor Mala, some works of Bhadra Bora and others might occasionally have an element of humour in them which might elevate them to the genre. Some of those who have been writing in this field in the last decade are not around. Of those that remain, the foremost, Tilak Hazarika, has not written in this genre for a while. Hem Sarma has not written anything new at present. Adept writer Rama Hazarika is currently silent. Of that generation, only I am active. In the recent past, the quantity of such works might have decreased, but several powerful humour creations have made major additions to Assamese literature. Mentionable among them are Bikash Barua, Riju Hazarika, Punya Saikia, Badal Das, Bijoy Sankar Sarma, Bhupen Sarma, Prabhat Goswami, Reena Debi, Dasho Kalita, Barendra Barkataki, Narayan Kataki, Haladhar Kataki and others. The 20th centurys radio programme Rahghara created several humour writers. Similarly Guwahati AIR Kendra broadcast works of several renowned authors, including Durgeswar Borthakur (Niruddex, Ghorot Kun Ase), Mahendra

Borthakur (Nedekhaie Bhal), Jogen Chetia (Dhantu Patanto), Bhadra Bora (Bhola Borar Sophor), Kirtinath Hazarika (Akorxon-Bikorxon, Phutukar Phen), Tilak Hazarika (Bharaghor), Bhola Kotoki (Bibhrat), Tafazzul Ali (Nepati Kenekoi Thaku), Tarun Saikia (Gobardhan Sorit), Premnarayan Datta (Satkar), Laxminandan Bora, Ali Haidar and Kishori Mohan Pathak. Assamese humour and satire magazine Biholongoni became popular partly due to the works of its editor Pulak Das, while Rohimola, Girjoni, Abikol and other sections brought to light the humour writings of many talented writers. In contemporary times, five witty humour writers deserve special mention -- Dr Jogendra Narayan Bhuyan (Kripabar Borooahloi Chithi), Jyoti Prasad Saikia (Bagarambar), Bidhi Pathak (Ityadi), Bedanta Bikash Sharma and Gautam Sharma. In their works, the great names in Assamese literature, such as Syed Abdul Malik, Silabhadra, Mahim Bora, Laxminandan Bora, Bhabendranath Saikia, Padma Barkataki, Sourabh Chaliha, Hiren Gohain, Hiren Bhattacharyya and others, have displayed several instances of humour. Their contributions need to be studied through the evolution of their writing careers. T

DUST OFF
I GITANJALI DAS

NEW PRINTS

OLKLORIST Alvin Schwartz has said, Humour is a slippery subject. What is humorous for someone might not be so for another. Moreover, humour is influenced by many elements such as society, culture and, most importantly, age. It is an art in itself to write humourous tales that can be read by all age groups and, in that sense, Bhabendra Nath Saikia is an artist. A doctorate in physics, Saikia wrote profusely for children. To consider them narratives meant only for the young would be underrating these realistic tales which are funfilled experiences for kids and nostalgia for grown-ups. Most of his humorous stories deal with settings and characters that everybody can relate to. Mohadustor Dustobuddhi is a compilation of stories by this renowned writer and filmmaker. The stories anthologised in this book were originally published in the popular childrens Assamese magazine, Sofura, where Saikia was the editor from

Mischief makers unite

1982 to 1996 and from 2002 till his demise in 2003. First published in 1999, the book became very popular and it was later given the form of a video play. The most striking feature of these stories, or rather episodes, is the realistic characterisation. Each chapter deals with a single incident. While introducing the characters the author casually mentions their names without making any effort to tell us where they are from or who their parents are. For instance, Do you know Shri Dhananjay Kumar Bhattacharyya? You don't remember? You will recognise him if I tell you his pet name. He is more popular by that name. Poltu. Indeed, we do not know Shri Dhananjay Kumar Bhattacharyya. But we do know Poltu. We know every kid in that familiar locality by their pet names as we live in a similar neighbourhood. And aren't Dhan, Bharati,

MOHADUSTOR DUSTOBUDDHI
Bhabendra Nath Saikia Nayantora Prakashan, 1999 `46, 123 pages Hardcover/Fiction
naughtiest kid of our locality or the countless pranks played by us in the carefree days of our childhood. The characterisation suggests that the author observed people and life minutely. There are only a few writers who can create mirth out of day-to-day incidents in a household or a locality. Some of the events have probably occurred in every household: Bolais father keeps on shouting advice to his mother from his room: Hera, cook khar with amita today. Hera, cook mati maah dail with thekera today. Hera, cook sojona with xorioh today. One day Bolai shouts, Ma today Mother interrupts him, You are also going to place an order? Bolai says, Cook dail with salt today. Saikia beautifully traces the fun and frolic of childhood, the squabbles between siblings and the countless thrashings awarded by the

Poltu, Bhola, Xorubapu or the others a mirror image of any other kid? The beauty of his narrative technique is that we immediately start relating them to the people we know. Thus, when the author narrates the mischief done by the children, we immediately think of the

Illustration : Amrith Basumatary

parents as medals for mischievous acts. We see the character Dhan persistently bugging his sister who is preparing for her Masters examinations (not a matter of joke, as the author gravely informs the reader). He makes a list of his brilliant inventions and leaves them among the books on his sisters table: 1. Rice soaked in water is called poita-bhaat. That is why hot rice is called apoitabhaat. (Actually the term is pointa; but the chandrabindu has gone missing from Dhans dictionary.) 2. Cows (goru) smell bad. His sister also smells bad. The watery thing that his sister uses to get rid of the smell is called agoru (a kind of perfume). 4. There is no value (mulya) of reading books because books are priceless (amulya)! 5. The things that the women from Lanka dont wear, but which his sister does wear, are called alankar (ornaments) Saikia says in the dedication that Mohadustor Dustobuddhi is a book of pranks. And those who do not understand pranks should not keep this book with them. True to his word the author pulls a prank on the reader as well: Do you know Indrajit? My goodness! What a naughty kid! If you hear about his mis-

chiefs you will become speechless, sometimes you will get angry, sometimes you will laugh so much your stomach will start aching, you will laugh to the point of tears. So many mischiefs. My mouth will start aching if I start talking about them. So, I wont tell. Mohadustor Dustobuddhi is coloured with delightful tales. In the last decade, humour literature has seen very few works that are not satire or marked by the chaos in society. The doyen of Assamese literature, Lakshminath Bezbarua, who influenced much of 20th century literature of the state, was adept in both satire and innocent humour. After him, Bhabendra Nath Saikia brought us humour we could delight in. In contemporary times, Sofura and Rongmon continue to give writers a platform to narrate tales that are untainted with the disorder in society. Rongmon, the only Assamese comic magazine for children, is quite popular among children and adults alike. Its publishers have now started a website. Perhaps because these are magazines for children, they aim at unadulterated humour and pure amusement. After all, who would want to pollute a childs mind with the ugly reality of society? Maybe the region needs more writers like Lakshminath Bezbarua and Bhabendra Nath Saikia to teach people how to laugh despite all the decadence in the community and find humour in the canvas of life. T

WRITING INDIA, WRITING ENGLISH

GJV Prasad Routledge, 2011 `545, 176 pages Hardcover/Non-fiction

he book is a compilation of essays that examines the complexities of interaction between English and other Indian languages in the Indian literary context

CONFLICT MAPPING AND PEACE PROCESSES IN NORTHEAST INDIA

Lazar Jeyaseelan (ed.) North Eastern Social Research Centre (NESRC), 2011 `200, 279 pages Paperback/ Non-fiction

A
RAKTA PLAWAN
Samaresh Mazumdar Kailash Nath Sarma (trans) Sadhughar, 2011 `125, 158 pages Hardcover/ Novel

collection of case studies, this book makes an effort to identify the causes of violence in the region

translation of the Bengali novel Eto Rokto Keno, the story is set against the backdrop of conflict-ridden Tripura